Tag Archives: Mick McMahon

We’re still partway through the Hellboy in Hell story arc at the moment in the main, ongoing HB series, but Mike Mignola has been leavening those tales of poor old Red being dead and wandering the afterlife with some stories set in Hellboy’s early career with the likes of the Hellboy and the BPRD 1953 (see here for review) and now this enormously fun Hellboy in Mexico collection of short stories, which sees Mignola collaborating with some fantastic talent – Gabriel Ba, Fabio Moon, Richard Corben and Mick McMahon (with the redoubtable Dave Stewart on colouring duties once more). I think many of us would consider those names alone worthy of the price of admittance.

Here we have a young Hellboy in the year 1956, and a lost period in his life, which as Mignola notes in his introduction (as with most of the other Hellboy short story collections Mike does introductions to each of the stories which I’ve always found almost as much fun as the stories themselves), started almost by accident when a few years ago he drew a sketch of Hellboy with some masked wrestlers and the caption “Palenque, Mexico, June 2, 1956”. This left an enticing door open for Mignola to return at some point to his creation and a “forgotten” era in his history, when Hellboy and a couple of other BPRD operatives were sent to Mexico to investigate a rash of supernatural disturbances and monsters. In fact there’s such a mess of monstrous events that his companions can’t take it and leave, but Hellboy stays behind. But the events take a toll on this young, rasher, less experienced Hellboy and he essentially vanished from the BPRD’s radar for five months (slight shades of Ambrose Bierce). He himself claims not to recall much of what happened – traumatic events mixed with far too much drinking. Or perhaps he simply doesn’t want to remember it…

One event in particular is a painful memory for Hellboy, introduced by a later BPRD mission to Mexico in the 1980s with Abe Sapien. Awaiting pick up they find some shelter from the sun in a small, ruined, lonely church. On one wall, among the ruined religious artefacts Abe spots old photographs tacked to the wall – one curling picture is indeed that one of Hellboy with the masked wrestlers, and naturally he asks HB about it, and so we start on these five “lost” months of his younger life. The three masked wrestlers in the 1950s photograph were three brothers, travelling the small town wrestling circuit until they are granted a vision in a church, that they are to help fight this plague of supernatural monsters. Hellboy teams up with them, fighting monsters by day, drinking tequila, singing and dancing in tavernas by night, until inevitably this catches up with them. After one night’s post beast-hunting drinking session, their luck turns sour, and in this world of damned creatures spewed up by the Pit and ancient Mesoamerican mythological monsters there are worse things than being killed…

(The Coffin Man – complete with demonic donkey! – art by Fabio Moon)

As this is a collection of short stories (as many of the best Hellboy books have been over the years), I don’t want to get into the actual stories too much as it is way to easy to accidentally let slip a potential spoiler. But I will say this whole collection has a terrific atmosphere to it, partly reflective – a glimpse of a younger, less seasoned Hellboy learning both adventure but also consequences the hard way – partly though it is just a terrific excuse for a series of adventurous romps, filling in a part of Hellboy’s life we’ve not seen before. And of course there is a huge amount of fun in seeing Hellboy teamed up with masked Mexican wrestlers battling vampiric beings, old Aztec gods and others, with many nods to the local mythology and also to the rich pop-cultural seam of horror films from the region.

(“Hellboy Gets Married” – too much drink, some music, a pretty face and it’s easy for a young lad to go astray… Art by the brilliant Mick McMahon)

It’s an absolute delight, and with Richard Corben, Gabriel Ba, Fabio Moon and Mick McMahon as artistic collaborators it’s as great a visual as it is a narrative pleasure, while Mignola’s trademark introductions before each story add nicely to the appreciation of them.